Wrangler Clay Phillips and his young brother are taking horses to Sonora when they come across four dancehall girls heading the same way, stuck with a wrecked buggy. He takes the girls on ... See full summary »
Claude Jarman Jr.
Nick Cochran, an American in exile in Macao, has a chance to restore his name by helping capture an international crime lord. Undercover, can he mislead the bad guys and still woo the handsome singer/petty crook, Julie Benson?
Josef von Sternberg,
Small village in mountains of Dalmatinska Zagora is under total control of Andrija, local Party official. One day two members of secret police come to the village and everybody knows they ... See full summary »
This valiant melodrama is the brilliant debut as a moviemaker of the great Japanese actress Kinuyo Tanaka, who also has a small role in the story. Based on a screenplay by Keinosuke ... See full summary »
The sheriff of Gunlock is planning to hang Sam Hall, who shot three farmers found on cattle land, at sundown. At the casino, betting is 8 to 3 he won't make it. The cattlemen are set to ... See full summary »
Mathias Pascal, only son of a once rich family, marries beautiful Romalinda, who has a terrible mother-in-law. She controls her daughter, and soon his home life becomes a nightmare, as well... See full summary »
Questioned as a murder suspect, solid (but drunk) citizen Al Willis attacks his police questioners, is beaten, and swears vengeance against them. Next night, Lieut. Parks is murdered; Willis is the only suspect in the eyes of tough Chief Conroy, who pursues him doggedly despite lack of evidence. The obsessed Conroy is dismissed from the force, but continues to harass Willis, who flees to a sleazy town on the Mexican border. Of course, Conroy follows. But which is crazy, Conroy or Willis? Written by
Rod Crawford <firstname.lastname@example.org>
The provocatively titled "Naked Alibi" is fairly typical of film noir in the 50s. By this point, the visual style epitomized by noirs of the 40s had lost much of its mysterious, oppressive quality. This is more of a 'film gris', though there are a few scenes that have a classic noir look and feel, particularly in the alley, after the barroom shootout in Tijuana.
The Gene Barry character, too, is consistent with the noir canon: a 'damned' character, immersed in evil to the end. Gloria Grahame's character is also typically damned. And the Sterling Hayden role completes the triangle: well-intentioned, but maniacally obsessed with his own mission of justice.
Hayden is good here, in his awkward, lesser-Mitchum way. Grahame--a limited actress--fares well enough, but a poorly dubbed singing performance does not flatter her. Best of the three is Gene Barry, who manages to mix a small amount of humanity into his villainous role. Chuck Connors is noticeable, but barely registers in a very small part.
"Naked Alibi"--a small cut above the average 50s B film noir.
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